DVD Review: Fitzcarraldo
Published April 05, 2007
In the film, there are very good supporting performances from all the other characters, including Molly, Don Aquilino, and his crew: an experienced captain, Orinoco Paul (Paul Hittscher), who can tell what river he’s on by tasting the water, but who has terrible eyesight, a terrific but undisciplined and resentful mechanic, Cholo (Miguel Ángel Fuentes), a huge menacing Peruvian, and a drunken ship’s cook (Huerequeque Bohorquez) who comes aboard with a coterie of kitchen help bimbos. But, Kinski - with his blue eyes enveloped by his bulging whites, his shocked golden mane seemingly on preternatural end, and his perpetually white suit and hat - dominates the film’s every aspect, which, despite its eye level realism, is an epic.
How else to describe how Fitz and Herzog approach things? Herzog could have saved time and money by using special effects to haul the boat over the mountain, but didn’t. He used a real steamboat; two were built for the film, and the film makes good use of a first human-powered attempt, and then a second attempt where the ship's motors do the work. That said, there are several scenes of the steamboat coming down the rapids that are done with a model, and Herzog wisely goes quickly through these scenes. The giveaway is that water droplets and waves are not scaleable. However, Herzog does let the scene play out in real time, rather than resorting to quick cuts and a fury of noise. Similarly, there are long shots of the boat literally inching up the mountain which add to the dramatic tension, but that filmmakers in this MTV-infected age would never allow.
The DVD, put out by Anchor Bay, and part of their great six-DVD Herzog-Kinski Collection (which includes all five films the duo made together, as well as My Best Fiend), is in terrific shape, devoid of scratches and in glorious hues that are never too much. It was copied from a great transfer, filmed in a 1.85:1 aspect ratio. It also comes with the original German film trailer, a stills gallery, talent bios, and a commentary featuring Anchor Bay’s Norman Hill prompting Herzog (perhaps the best and most cogent DVD commenter going) and his brother, the film’s producer, Lucki Stipetic. Stipetic is Herzog’s real surname; Herzog is his middle name. It is shorn of the usual non-critical fellatio and philosophic meanderings most films have.
Perhaps the funniest anecdote is how, during an early opera house scene with Enrico Caruso (Costante Moret), we see the character of legendary stage actress Sarah Bernhardt. First, we get the visual cue that she’s not singing, when we see a fat lady singing in the orchestra pit, and then Herzog reveals that the Bernhardt character is being played by a transvestite actor named Jean-Claude Dreyfuss. Perhaps the only way this DVD, or the DVD set could have been improved was to have included the making of documentary about the film, Burden Of Dreams (1982), shot by Les Blank and Maureen Gosling.
- DVD Review: Fitzcarraldo
- Published: April 05, 2007
- Type: Review
- Section: Video
- Filed Under: Video: Foreign Language, Video: Drama, Video: Classics, Video: Art House
- Writer: Dan Schneider
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Comments
Perhaps it's because I grew up watching Godzilla films, so dubbing does not distract. I cannot fathom how a few misaligned lips can distract as much as words that can cover up to 30 or 40% of the screen.
I do think, however, the voice is the easiest thing for an actor to use in emoting- physical and facial acting is much more difficult. The great actors emote with their eyes, not their lips.
Criterion Collection, as example, has notoriously poor subtitles- white on black and white films. At least Anchor Bay uses colored subtitles.
I would ask, have you ever been emotionally moved by a cartoon character? If so, then I wd argue that lip synchronization, and emoting in voice tone is not as hard as you claim.
Thanx for the reply.
It is as you point out for a large part what people grow up with, Germany dubs, and so do a lot of other countries. I happened to grow up with subtitles so it is easier for me.
It may also be more easy for me for instance to watch films in their original language since English and German (not my native tongues) come fairly easy to me. I don't expect Americans or Brazillians to understand Dutch for instance.
English is also a very predominant language as much as a 'global' language but very much so in relation to films. But try to ignore this for a moment and imagine an actor like Anthony Hopkins, or Jeremy Irons with a wildly different voice. These are actors who can downplay their facial porfermance to a minimum and compliment it with an almost hypnotic timbre, and how their 'englishness' makes so much difference. Forget even about that, what about Trainspotting in German? Do you really think the impact of hearing this Scottish slang translates well into some local German or French or Spanish whatever, accent? New York street slang substituted for downtown Helsinki 'jive'?
I know most people couldn't care less and may not even recognize these things but on a subconsious level they probably do.
Yes, emoting in voice tone is something voiceactors are off course very good at, it's what they are trained and chosen for. But how well do they stand up to the originals? One could argue that some performances can only be improved because of the dubbing but I wouldn't even bother with bad acted stuff to begin with.
I personally pick up on accents pretty quick and it influences my experience of the movie and understanding of the characters. I had multiple opportunities whereby I was presented by dubbed versions of films, being it from original English to local speech, or the other way round. I feel something definitally gets lost in the translation, of which a part is the literal tranlation itself, but in the feeling for the actor as well.
I did 'force' some people to stop watching dubs because I refuse to watch dubbed films (I don't mean normal ADR) and some of them even turned over and now do feel the dubbed versions sounds 'unnatural'. Others are just lazy and can't be bothered, their choice off course.
Apart from that, don't you think it's a bit bland to watch forreign films in your own language, isn't it part of the charm that you hear another language, the one that is relevant to the place it plays in? It might make communication easier, but wouldn't it be so very bland if the world sounded the same everywhere?
'One Night on Earth' by Jim Jarmush may be a good way to illustrate my point. The couleur locale oozes out of those stories and very much because of the many languages spoken. More recently Babel comes to mind.
Again, just my feeling on this subject.
Cheers!
Well, if one is used to something they are used yo it.
But, I think if you got 100 people, who never saw a foreign language film, and played dubbed and subtitled versions, 80%+ wd prefer the dub, Again, while narrative and story are essential for great films, they work subconsciously, while the image dominates. Esp. w great directors, things go on in the background or corners that enrich a film immensely. I grant a bit may be lost by dubbing, but far more is lost by subtitling. It's similar t translating poetry- does one do a literal word-by-word transliteration, or get the gist? If the latter, your gist may be different from another's, so while the translated poem flows better, is it the same essential gist?





You mention that you prefer a dubbed version to a subtitled one. I see your point that reading titles could be distracting. I would argue that the distraction of seeing a persons lips move to different sounds would be equally distracting as it inherently looks awkward. Not to mention the deminishing of the performance, I've heard virtually no dub that really did justice to the performance of the original actor. Instead, I found it usually completely wrecked it. You just can not substitute the performance of an actor in his part, moment and environment, by the dub of some voice-actor in a studio who was never there, didn't get to interact with the other actors, surroundings and overall, director. Also the cadens and choise of words that sound like the emotion they portrait is different from language to language. I would personally value the voiceperformance of an actor to be in some cases even more than half of the total performance. Just my thought. What's yours?
I'm not really arguing about this film as it was shot and dubbed in both German and English and looks a bit awkward in both cases. One can't however appreciate Kinski to the fullest in any other language than German (even if it's him doing the dubbing);)!
Best regards,